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Los Saints © Stu Alfano
Columns, Essays, Music, National Hispanic Heritage MonthSeptember 27, 2022<September 27, 2022

“Ties that Bind”: Why Hispanic Heritage Month has Special Meaning for Los Saints

by Guest Writer
Atwood Magazine's Editors Picks 74
Columns, Editor's Picks, Features, MusicSeptember 27, 2022<March 11, 2023

Editor’s Picks 74: L.S. Dunes, Charlotte Lawrence, Peace Ritual, Sadurday, Dear Boy, & Abby Sage!

by Mitch Mosk
the Mountain Goats © Spence Kelly
Columns, Music, Reviews, Today's SongSeptember 27, 2022<September 27, 2022

Today’s Song: The Mountain Goats Revel in Villainy with Their Action Movie Ode “Hostages”

by James Crowley
Timothy Edward Carpenter © Samuel Greenhill
Artist to Watch, Features, Interviews, Music, Track-by-TrackSeptember 26, 2022<September 26, 2022

Feature: Timothy Edward Carpenter’s Brutally Honest & Breathtakingly Vulnerable ‘PREP SCHOOL’ EP

by Mitch Mosk
Why Bonnie © Alec Castillo
Debut, Features, Interviews, Music, Track-by-TrackSeptember 26, 2022<September 26, 2022

“Lonely times are louder in the Lone Star State”: The Reckoning & Raw Reflection of Why Bonnie’s Standout Debut ’90 in November’

by Mitch Mosk
Asylums © Alistair Underwood
Artist to Watch, Music, PremieresSeptember 26, 2022<September 26, 2022

Premiere: Asylums’ Spirited “Instant Coffee” Is a Highly Caffeinated, Deeply Cathartic Anthem for the Broken & Bitter

by Mitch Mosk
Tim Bernardes © Tim Bernardes @ Marco Lafer and Isabela Vdd|
Columns, Music, Today's SongSeptember 26, 2022<September 26, 2022

Today’s Song: Tim Bernardes Poetically Defines the Meaning of Life with “Nascer, Viver, Morrer”

by Frankie Rose
Portola Music Festival 2022 lineup
A Casual Ramble, Music, Previews, ReviewsSeptember 23, 2022<September 23, 2022

A Casual Portola Festival Preview: Charli XCX, Yves Tumor, Jamie xx, Kelly Lee Owens, L’Impératrice, & More!

by Ben Niesen
Talk Show © Stewart Baxter
Features, Interviews, Music, Track-by-TrackSeptember 23, 2022<March 14, 2024

Touch the Ground: London’s Talk Show Kiss the Sky with Feverish Industrial Post-Punk EP

by Mitch Mosk
Editors © Rahi Rezvani
Music, ReviewsSeptember 23, 2022<September 23, 2022

Potency & Emancipation: The Wonders of Editors’ 7th Album, ‘EBM’

by David Buyze
Atwood Magazine's Weekly Roundup | September 23, 2022
Columns, Features, Music, Weekly RoundupSeptember 23, 2022<September 25, 2022

Atwood Magazine’s Weekly Roundup: September 23, 2022

by Atwood Magazine Staff
Tamino © Jeton Bakalli
Features, Interviews, MusicSeptember 23, 2022<March 11, 2023

Feature: Tamino’s Sophomore Album ‘Sahar’ Mediates the Intersection Between Light & Dark, Love & Pain

by Lilly Eason
Corey Harper © Harper Smith
Debut, Features, Interviews, MusicSeptember 23, 2022<September 29, 2022

Interview: Corey Harper Talks Embracing Change, Hope, & Comfort in the Storm on His Debut Album ‘Future Tense’

by Rachel Leong
Slaney Bay © Henry Ager
Artist to Watch, Debut, Features, Interviews, MusicSeptember 22, 2022<November 11, 2022

“Where the Horror Meets the Healing”: A Conversation with London Indie Rock Trio Slaney Bay

by Mitch Mosk
Neev © 2022
Music, PremieresSeptember 22, 2022<September 22, 2022

Premiere: The Soft Swell of Neev’s Captivating “Seawall,” a Beautiful Song of Burnout & Fatigue

by Mitch Mosk
Posts pagination
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Brand New

  • “I Don’t Owe You a Goddamn Thing”: Lisa Molinaro Claims the Sweetness for Herself on “Peach Fuzz,” a Feverish Indie Rock Eruption of Refusal & Release
  • Ryan Bingham Reinvents Cowboy Country with ‘They Call Us the Lucky Ones’
  • Railbird 2026 Was Derby Roads, Country Music, and a Community Coming Together
  • “I Know I’ve Arrived”: Yan Qing Explores the Weight of Indecision and the Solace of Love on “The Arrival,” an Achingly Honest Acoustic Ballad
  • “Rule Me, Stone Me”: Personal Trainer’s “Punch Drunk Love” Captures the Tender Chaos of Infatuation
  • “All That I Wanted Was You”: Adrian Lyles Sets Love’s Wreckage Ablaze in an Achingly Intimate Reckoning with Heartbreak & Helplessness
  • “Mixed Sentiments Surrounding June as Designated Month of Celebration”: An Essay by Terri Lyne Carrington

:: discover something new ::

Recent Posts

  • “I Don’t Owe You a Goddamn Thing”: Lisa Molinaro Claims the Sweetness for Herself on “Peach Fuzz,” a Feverish Indie Rock Eruption of Refusal & Release June 22, 2026
  • Ryan Bingham Reinvents Cowboy Country with ‘They Call Us the Lucky Ones’ June 22, 2026
  • Railbird 2026 Was Derby Roads, Country Music, and a Community Coming Together June 22, 2026
  • “I Know I’ve Arrived”: Yan Qing Explores the Weight of Indecision and the Solace of Love on “The Arrival,” an Achingly Honest Acoustic Ballad June 22, 2026
  • “Rule Me, Stone Me”: Personal Trainer’s “Punch Drunk Love” Captures the Tender Chaos of Infatuation June 22, 2026
  • “All That I Wanted Was You”: Adrian Lyles Sets Love’s Wreckage Ablaze in an Achingly Intimate Reckoning with Heartbreak & Helplessness June 19, 2026
  • “Mixed Sentiments Surrounding June as Designated Month of Celebration”: An Essay by Terri Lyne Carrington June 19, 2026
  • Editor’s Picks 158: Games We Play, Weird Nightmare, Nora Kelly Band, Erotic Secrets of Pompeii, Tooth, & Riley! June 18, 2026
  • Break On Through: Examining the Content, Comportment, and Quantum Entanglement of The Doors June 18, 2026
  • Vansire Invite You to Take Solace: A Conversation on Love, Creativity, & Connection June 18, 2026
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Disclaimer: Atwood Magazine is a publication dedicated to celebrating fresh voices in music, culture, and the arts. The views and opinions expressed in our articles, reviews, and interviews are those of the individual writers and do not necessarily reflect the opinions of Atwood Magazine as a whole.

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